Re: Best way to monitor with FCPX--what's your take

I haven't mentioned this, but if I ever saw anyone monitoring broadcast or feature footage on a computer monitor, I'd take a bat to it. Nonononono.

But we're not talking about best practices for those kind of settings. The question seemed simple to me: my viewers will be seeing my work on a computer, and only on a computer...or a phone I guess. Is a computer monitor okay for this?

[Jeremy Garchow] "Most likely, you shot 709 HD, so why not monitor in 709 HD?

Because my audience isn't seeing 709 and never will. You're talking about an abolute, which is fine, but I think relative is far more important because....


....it's hard to calibrate a computer monitor to 709 video....

Which is my point for Michael. He's delivering to a computer monitor, which doesn't support 709. He needs to monitor at something closer to what his viewers are overwhelmingly most likely to see - web movies delivered to a computer or phone.


If you have interlacing in your program, monitoring on just a computer monitor will not show the what is really going on as many times you are monitoring the signal at less than 100% of the video pixel size."

Another question I don't know the answer to: I know that viewing interlaced footage on a progressive monitor is begging for disaster, but what if you're seeing deinterlaced video on a progressive monitor, when ALL of the people seeing your video is also viewing on a progressive monitor? That has to happen at some point in the grading process. What's wrong with making that first step and monitoring in a way that matches the final output?